NYFW Fall 2013: Thakoon, Diane von Furstenberg, Jeremy Liang, Trina Turk, Delpozo
(NEW YORK) Thakoon
If Thakoon Panichgul‘s fall collection felt awfully light and spring-y, it’s because the designer was trying to take the essence of the warmer months and infuse it into fall’s wardrobe. Clever! Backstage after the show, Panichgul brought up the Ray Bradbury novel Dandelion Wine, wherein the titular beverage serves as a metaphor for taking all of summer’s joys and preserving them for winter. And that explains the delightful photorealist print of dandelions blowing in the wind that appeared throughout the collection. “It was about putting colors that you might see in the summertime on wintery textures,” explained the designer, like fur—and we expect those dust-blue and gray fur wraps to prove popular this fall. “I wanted to combine winter and summer,” Panichgul told The Daily. Though undeniably whimsical and nostalgic, the collection was also surprisingly sensual, with lots of dresses that showed flashes of skin through tulle panels.
Diane Von Furstenberg
Ever the arbiter of all things seventies-inflected, DvF was a groovy good time this season. The surprise factor there? Little to none, considering von Furstenberg was the queen of the era herself. All of the hits necessary to do glam rock right were present for the occasion, from metallic pants and pencil skirts to punchy toppers ringed with oversize fur collars, to peasant skirt-esque numbers. Also j’adoring the hits of cranberry velvet, plus the groovy day-to-evening maxi dresses and skirts. And how would any DvF showing be complete sans that iconic wrap dress? It simply wouldn’t.
Pier 59 Studios, a seemingly home-away-from-home during fashion week, hosted Jeremy Liang’s fall 2013 collection, which was Liang collaborated with Vanessa Maltese on the prints and jewelry which properly punctuated his abstract angle and designs. The first look was a blocked pocket shirt with russet red sleeves, a teal green body, and a jagged bright yellow rectangle in the middle; layered on bottom were black and white silk pants with white crosses on them. It was a better update on the color block trend that has obsessed designers and consumers alike for the past couple of seasons. The cross print cropped up on asymmetric tunic shirts with yellow peeking out on bottom. The styling was easy, with tie belt drawn to one side and large stencil-like necklaces hung on thin chains. Liang added some glitz and glam with a gold laminate seersucker fabric that he fashioned into straight pants and also cropped jackets. Overall the collection was young and easy and packable. Let’s do some jetsetting, shall we?
Known for her beachy vibe and bright colors, fall was a more subdued retreat for Trina Turk, albeit one pulled off with panache. Titled “California Modern,” Turk confessed to The Daily a state of California dreaming, though this time the focus was on desert hues like plum, lake, russett, and saffron. Think crepe black jumpsuits, cable knit sweaters, high waisted pants, and even some coats. An embarcadero columnar dress printed with purple, orange, white, yellow, and black looked quintessential Turk: A complicated and geometric print with the potential to look messy, instead appearing sleek and retro. Lanky models were styled to a T, with silk scarves tied around their necks, bold rings, and chunky necklaces in gold and black. Also! Thick fedoras rakishly set atop every girl’s head. Showing her development in outerwear, Turk presented several coats in luxurious materials. For example, a berry-hued curly lambhair vest and rabbit coat with melanges of texture, thanks to the smooth, flattering sleeves. It was a collection aimed at the bicoastal lass, to very successful ends, non?
Delpozo’s fall collection involved lots of classy separates and dresses done in delicious hunter orange and acid-bright floral prints. You could be forgiven for thinking that designer Joseph Font had the ’70s on his mind given all that, but it turns out he was thinking more of the 19th Century and the Victorian era. “We like to use colors that may seem to be a little complicated to work with,” explained Font of his distinctly un-wintry palette. The sleeves had a particular kind of volume, one that’s been popping up at other shows this season (notably Lacoste). The shoulder was soft and rounded, and the sleeve had a slight leg-of-mutton shape that tapered towards the wrist—a Victorian influence, Font explained backstage. “Volume is very important,” said Font, who trained as an architect before he went into fashion. Appropriately for the resolutely feminine collection, the all-female band Au Revoir Simone performed live, their synth-pop sounds echoing through an airy studio high above the Hudson River in the Starrett-Lehigh building.